3DTOTAL.

COM eBooks Series

Chapter 01 | Wealthy City

Page 04 | By Robh Ruppel

Chapter 02 | Docks

Page 10 | By Richard Tilbury

Chapter 03 | Slum City

Page 18 | By Branko Bistrovic

Chapter 04 | Bazaar

Page 26 | By Ignacio Bazan Lazcano

Chapter 05 | City at Sunset

Page 32 | By Frank Hong

Chapter 06 | Sky Scrapers

Page 38 | By Jama Jurabaev

WEALTHY CITY

CHAPTER 01

Chapter 01 Wealthy City

Wealthy City
Software Used: Photoshop
I always start with a simple abstract composition
when developing a sketch. This helps in that if
its not working with a few simple shapes and
a few simple values, all the rendering in the
world wont save it. This design suggested the
possibility of a futuristic city to me. (Fig.01)
Next I found a few random images from my
photos (shoot your own reference wherever
you travel) and overlaid them to specific
layers. I kept the background and foreground
on separate layers so I can link the photo to
the foreground shape. That way it only affects
that layer. There are several photos and I
kept repositioning them till something clicked.
I dont usually hit the reference this early but
I was looking for something to suggest itself.
Since its a personal work its more fun to see
what develops rather than planning everything.
(Fig.02a and Fig.02b)

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Now the heavy lifting, Ive got to establish

start. Without the understanding of perspective

some larger planes, and how they relate to the

and tone youll always be a slave to your

horizon/perspective. The photos are merely a

reference, which isnt being an artist. (Fig.03)

page 5

Chapter 01

Wealthy City

Chapter 01

Big changes, I start carving up the larger planes

imagining. You might think its cheating but

I need. Perspective and Free Transform being

with detail. This is all made up and hand done

these are all tipped in perspective to conform to

the most used.(Fig.05a and Fig.05b)

with a simple round brush. The image is starting

my vanishing points. You always have to do this

to form now. (Fig.04)

because rarely do you get a photo that perfectly

Cleaned up some edges and added the street

conforms to your painting. I use Free Transform

lights for scale. Make one and duplicate then

Let there be light! I overlaid some more photos

and Perspective with the keyboard shortcut

repeat. Free transform again for size and

to start making it look like the night scene I was

Command T. This brings up whichever function

perspective. I also started adding some more

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page 6

Chapter 01

Chapter 01 Wealthy City

complex frames to my lit windows on the right.
Again, and I cannot say this enough, the photo
will only get you so far. Youve got to be an
artist and get in there and change it to suit
your design! This is the skill that separates the
photo collage artists from the rest. Everyone
does it but with the best you cant tell where
the reference ends and the overpaint begins.
(Fig.06)
People! It was always my intention to have
people milling about. I made 3 different custom
brushes that I used to quickly populate the
ground.(Fig.07a and Fig.07b)
Some subtle lighting emanating from the dome
in the distance adds a little more coolness.
(Fig.08)
I then add more detail to the mid ground
structures on the left. Im bringing shapes
forward, defining slight overhangs, adding
lights to the side plane. It needs all these small
touches to bring it to life. (Fig.09)
Added a lot more drawing to the lower right
structure and some clouds to obscure the tops
of the buildings on the left. It wasnt the focal
point so a few soft edges will keep the eye from
wandering off the page. Signed and done. I
consider this a sketch so I only take it so far.
(Fig.10)

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page 7

Chapter 01

Robh Ruppel
For more from this artist visit:
http://www.robhruppel.com/
or contact them at:
robhrr@yahoo.com

DOCKS

CHAPTER 02

Chapter 02 Docks

Docks
Software Used: Photoshop

Introduction

modify it in order to create a more plausible

of repeating a motif or shape can be used as a

concept.

gauge to measure scale and perspective in a

scene. (Fig.02)

Due to the low eye level I decided to build a

simple ship shape in 3d to give me an accurate

With the perspective and basic 3d shapes in

The first stage in this tutorial was to do a little

starting point with regards to the hull in

place it was time to start blocking in some of the

bit of research by looking at images of docks

perspective.

tonal range (Fig.03).

From the outset I wanted to create an image

Fig.01 shows the basic shape that was created

I usually use some textured brushes at this

that had large sense of scale, namely because

in 3d.

stage and apply some random strokes and

on the internet and of different types of ships.

marks which often suggest a direction or help

of the size of ships when viewed up close.

Any large vessel has an imposing quality that

I then added in some perspective lines to act as

describe details. I used the Lasso tool to create

is immediately impressive, due to the strong

a guide and a framework along the left which will

some hard edges shapes along the ground

sculptural form and sheer size compared to the

serve to create depth in the scene. This device

which will also help convey the perspective.

average person.
The grandeur of the early cruise liners was
something that I had in mind when considering
the type of composition and I decided that the
eye level should be low down to emphasize the
vast scale of the ship that would form the focus
of the image.

Blocking In
I decided that I didnt want to stray too far from
the general design of ships for fear that it would
look unconvincing. Any waterborne vessel
adheres to a few basic principals regarding
the shape in order that it can effectively move
through water and so given this long established
tradition I thought it would be best to stick to it.
I find that with any interpretation of a subject it
is better to start with what you know and then

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page 11

Chapter 02

Docks

Chapter 02

In Fig.04 I darkened the sky and boat as there

was too much white in the image and made
sure that the back of the boat blended into the
background less abruptly. The right side of the
boat at the bow also looked too bright even
though it is reflecting some light and now looks
far more convincing.
After establishing the basic composition I
created a new layer set to Overlay Blending
mode which will represent the color scheme. I
painted in some provisional colours here which
you can see in Fig.05. By setting the blending
mode to Overlay it is possible to add colour
without affecting the tonal range. Some artists
use this method whilst others prefer to use color
directly as they feel this approach produces a
muddier palette.
You will notice that I have also added some
structures on the deck and two large vent
shapes at the front to create a slightly odd
feature that help make the boat look less
contemporary.
Fig.06 shows the structure of the Layers palette
with the tonal composition at the bottom called
Main and the color layer directly above it set to
Overlay.

Building the Detail

Using the perspective lines as a guide I created
some simple shapes on the right using the
Lasso tool and then filled them in with a light
grey (Fig.07).They automatically appear blue
due to the color layer above.
I continued working on the base tonal layer and
began adding in some detail along the ship

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page 12

Chapter 02

Chapter 02 Docks
with some structures on the deck and rigging. I
added in some shapes that could become crates
or platforms but at this stage I was not sure.
When painting in symmetrical detail along the
hull it is best to create some shapes on a new
layer and then use the Transform tools to match
the perspective. Scale and Skew are the two
common ones I use but Warp was particularly
useful in this instance due to the curvature of
the hull.
Fig.08 shows the Transform tools under Edit
and in this case Warp which has been used
to curve the vents along the side of the ship.
I made one group first and after duplicating
it twice used the Scale and Skew tools in
conjunction with the perspective grid. Once

them fitting somewhere and so dragged them

found a few other useful references in the library

done I then warped each set individually to align

into my image, scaled them and started to

which I used to add further detail and realism to

with the hull.

experiment.

the image. I copied and pasted in some aircraft

panelling along the hull and on the girders on

At this stage I began looking through some of

http://freetextures.3dtotal.com/preview.php?imi=

the left and set the blending mode to Soft Light

the free photos available at 3D Total which I

6141&s=c:Mechanical&p=0&cid=12

(Fig.10).

a sense of realism. Photos which are carefully

http://freetextures.3dtotal.com/preview.php?imi=

The other two components taken from the radar

used and color corrected can help an image

6144&s=c:Mechanical&p=0&cid=12

and tank were simply colour corrected and set

could use to paste into the image and help add

to Normal blending mode.

immensely and suggest all kinds of textural

detail and subtle effects.

I finally decided that they looked quite

interesting at the bow and fitted in with the

http://freetextures.3dtotal.com/preview.

Whilst sifting through the library I found these

vents so skewed them accordingly and blended

php?imi=7128&s=c:Vehicle_Air&p=0&cid=15

two photos which caught my eye. I imagined

them in using Image Adjustments (Fig.09).

I

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Chapter 02

Docks

Chapter 02

http://freetextures.3dtotal.com/
preview.php?imi=7191&s=c:Vehicle_
Ground&p=1&cid=15
http://freetextures.3dtotal.com/
preview.php?imi=7195&s=c:Vehicle_
Ground&p=1&cid=15
After all of the detail that has been added from
photos I decided to flatten many of the layers
to keep the file from getting too complicated.
These have now been merged with both the
color and original tonal layer (inset top left
Fig.11).
The background on the right is looking a little
empty and so I created an abstract shape that
could represent a large crane or something and
then duplicated it twice before scaling it to match
the perspective. I kept this on a separate layer

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page 14

Chapter 02

Chapter 02 Docks

for the time being as well as adding a new color layer set to Soft Light to

You can see the layer structure here with the Adjustment layers and

change the hue of the top of the boat which was too blue.

a further sky layer which I used to add a blue mainly to the upper left
(Fig.13).

With a little more refinement to the background and a better integration

of the vents on the front of the ship I once again flattened all of the layers
barring the perspective ones. I then added two Adjustment Layers: Curves

Refining
At this point the detail in the image was at a reasonable stage however

to darken everything slightly and Color balance to add some warmer tones

the color scheme seemed a little drab and washed out; fine for a foggy

towards yellow (Fig.12).

day but not what I had in mind. The composition was also troubling me

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page 15

Chapter 02

Docks

Chapter 02

because the ship seemed squashed and had

colors in the small inset upper left. I then used a

This area of space above the ship helps balance

no space to breath so to speak. I altered the

soft edged eraser to delete certain sections that

the composition which I feel is much better.

canvas size by increasing the height and also

coincided with the ship (Fig.14).

With this new injection of color I started to

added a Gradient layer set to Overlay using the

build on the level of detail on both the ship and

background (Fig.15).
I continued adding further refinements to both
the background and foreground. Small highlights
on some of the ships detail can make a big
difference overall and the panels along the lower
side of the hull have now been warped to better
match the curve (Fig.16).
A gigantic building in the background helped
add some extra interest along with a spaceship
flying over the docks (Fig.17).
Some lamps and a character placed in the
foreground completed the image and with a few
more embellishments the picture was complete.

Richard Tilbury
For more from this artist visit
http://www.richardtilburyart.com/
or contact them at
ibex80@hotmail.com

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page 16

Chapter 02

SLUM CITY

CHAPTER 03

Chapter 03 Slum City

Slum City
Software used: Corel Painter 11 & Photoshop

Futuristic slums? Sound almost like an

oxymoron. Nonetheless, its fair to assume
that one day they might very well be a reality;
unless we achieve some glorious hedonistic
society, the chance is that a large portion of the
earths population will be living in them. Cheerful
thought I know, but I doubt itll be as bad as it
sounds. We human beings have an uncanny
way of adapting and personalizing the space
which we inhabit. The people living in these
slums might not witness digital streams of cash
flow in to their bank accounts, but they will be
human beings who work, dream, produce and
play. With this piece, I dont want to simply bang
together the idea of a slum and the future;
instead I want to create an environment of the
future that looks as if its been lived in. One that
suffers from poverty but nonetheless is alive
and has its own charm. A place where higher
members of society would not want to live, but
might visit if they were feeling adventurous.
So lets see if I can pull it off!
My first objective is to establish an interesting
composition, one that will engage the viewer for
more than a millisecond. Thats why sketches
are so useful. Keep them broad, keep them
messy, keep them however you like, just make
sure not to take too long on them. Remember,
this is mainly to establish the bare bones of your

imagine this as government housing that is built

window in Painter (this is where you can adjust

actual piece (Fig.01).

to vast proportions and sort of all piled in a semi-

the grain) go to Window > Library Palettes >

pit to literally keep the refuse out of the higher

Show Paper (Fig.02).

I decide I want to aim for a somewhat

levels. The only official way out of this area is

oppressive setting by both pushing the scale

through heavily guarded tunnels.

and also utilizing the borders in order to make

the viewer sort of feel pressed in upon. I

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Note: Ill give you a heads up when I switch to

Photoshop.

Alright, as you can see this is the sketch I end

up with after mixing it with a few of the other

Using some great resources from 3DTotals free

sketches. As I said, just keep it loose and

texture site (http://freetextures.3dtotal.com/)

sketchy. Im painting in Corel Painter 11, using

I then create a black and white collage that

a regular hard edged Airbrush and pumping

resembles rundown huts. I do this very quickly

up the Grain, varying the grain size depending

because this is only intended as a place mat to

on how close I get to the foreground (Grain

expand on and paint over later until its been

larger the closer we get). To access the Papers

pretty much eradicated (Fig.03a 03b).

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Chapter 03

Slum City

Chapter 03

I then bring the collage into the final sketch,

placing it on its own layer. I position it over the
mid ground tenement and set the layer it was
on to Overlay. From there, I fiddle with it until
Im pleased with what Ive got. I then flatten the
layer down (Layers > Drop) and continue to
paint over the tenement until Im happy.
Things are looking a little dry, so I decide to
extend the composition horizontally, thus giving
it a wider format and cinematic feel. I also add

as a whole it all makes enough sense to be

muck of the place, as a result establishing a

machinery and buildings to the side foreground,

believable.

unique atmosphere (Fig.05).

Next I start to think about the color pallet. Still

For color, I paint on a new layer and vary the

sticking to the Airbrush and varying between

blending of the layer between Normal, Multiply,

Its not important to make sense of all thats

hard edge and soft edge, Im thinking of a

Overlay and Soft Light, depending on what best

there. This is more a mood piece thats meant

somewhat polluted setting, with high contrasts

suits my needs. Always feel free to experiment,

to tell a narrative; not really something for a

of light and shadows, as if everywhere you look

especially in your own pieces because itll help

modeler to build from, so dont feel you need

there is either a blinding glare or a dusky murk.

remind you who you are doing this for in the

to explain everything. Just make sure that

Im hoping itll sell both the vibrancy and the

first place: yourself. Itll also let you enjoy the

further pushing the depth and hopefully

increasing interest (Fig.04).

process that much more!

Okay, you are going to see a lot of this as
the project evolves; me fiddling with the
composition, shifting, changing, balancing,
re-balancing. In this case I enlarge the mid
ground, and continue to work on the colors. To
the background horizon, Im thinking of soaring
skyscrapers that loom over the whole area, like
great sentinels blocking out the sun yeah,
happy days (Fig.06)!

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Chapter 03

Chapter 03 Slum City

So as promised earlier, Im continuing to fiddle
with the composition. Ive also decided to start
bringing in some of the human charm, placing a
neon sign to the left, itll be some sort of a one
man fish shop being run from a junk heap of
machinery. Actually it looks like two turbines
well whatever, I like it (Fig.07).
Currently I am trying to keep my lighting focused
to the centre right; hopefully this will continue...
Here there is further cleaning up, and additional
colors added. I get rid of the foreground tunnel.
I think it did a good job of adding depth and
some dynamic, but I feel that I need to expose
the courtyard to some sky otherwise it feels a
little too depressing. Its difficult to stick with
your initial ideas sometimes; I was appreciating

Ive outlined in separate thumbnails the

some broken up diagonal lines, Im hoping these

that tunnel, but I just couldnt make it seem

breakdown of how I decide to paint her.

will sufficiently indicate the kind of holographic

somehow more uplifting than an open sky (even

if it is now populated by two fat silos) (Fig.08).
So what would a seedy part of town be without

images were all familiar with - the ones that

First I start with an off-blue, white and semi hard

are kind of grainy and all broken up by static

Airbrush. I want to make her look provocative

(Fig.11).

but not straight up slutty (Fig.10) .

at least one billboard of a scantily clad female?!

And then on a new top layer set to overlay I add

In this case, since its the future, its a scantily

Now, on an underlying layer, I sketch out some

the final glow, really saturating the blue, making

clad hologram of a female. Bask in the sweet

flowing hair, erasing it out a bit just to make it

it glow (Fig.12).

progress of technology (Fig.09).

feel a little sketchy. On an overlay layer I make

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Chapter 03

Slum City

Chapter 03

There you have it. Later on I might go in and

further punch up the brightness, but thats
still to be seen depending on how the piece
develops. I didnt take very long on her; didnt
want her feeling to well refined, I think it might
work against the holographic sort of airy feel Im
going for.
I decide to accentuate the girl with some
neon lights, trying to establish a mood here of
entertainment as well, even if it might be seedy
entertainment (Fig.13).
Also I add John to Johns Fish Emporium. Little
human beings can really bring life to a piece.
Use them wisely though. They can also detract
from a finished environment, if they draw the
viewers attention more than the environment
itself does.
Finally, Im defining the back buildings, making
them slant in so as to give a feeling that theyre
these buildings are lived in. It reminds me of

Okay, Now Ive transferred over to Photoshop

cooking and the aromas that accompany such

CS4, mainly because when it comes to many

Okay, now I add some smaller detail and add

memories, which will hopefully allow the viewer

layers I find Photoshop handles the load better

haze to the Entertainment District simply by

to relate to the piece better and make it more

than Corel Painter. On the other hand, I do feel

bringing the Airbrushs opacity to 20% and

tangible for them. The smoke also allows for a

that Corel Painter is superior at mimicking the

choosing a soft edge. Then feel free to glaze

greater sense of atmosphere.

visceral qualities of traditional mediums, so yes

pressing down upon us.

they really do have their own pros and cons. Its

to your hearts content until you think youve

established enough of an atmosphere (Fig.14).

Finally, I use the black and white collage from

up to you to decide which better works for you

Fig.03 and apply it liberally to the background

(Fig.15).

I use this same process for bringing in the

skyscrapers, using the same method as

smoke emanating from the tenements,

before. I then paint it further after dropping the

Anyhow, time for a little more charm in the

except this time I raise the opacity to 60%.

layer down, making them look rundown but

form of a giant metallic arm!

I feel the smoke drives the point home that

structured.
Not sure what exactly it is but I want to bring
some quirky menace into the piece, so I throw
this arm coming off top of the screen to visit
Johns Fish Emporium. I make sure its reflecting
the light from all of the surrounding sources well
enough to stick out. Things are getting rather
cluttered and its becoming a balancing act
between detail and clarity for me.
I also include happy patrons at Johns; obviously
one of them has seen the arm, but whether or
not hes ridged like that because hes pooping

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Chapter 03

Chapter 03 Slum City

himself with fear or if in fact hes simply resentful

have on that particular layer. In this case, I can

of the machines sterile coldness, well never

now paint right into the windows but cant paint

know.

outside of their borders (Fig.16) .

Its easy enough to bring drama even to a small

So now its all refinement. I paint in much more

scale like this when you utilize harsh lights and

of the populace, making sure to give them

shadows. A much grandeur example of this can

shadows to ground them. Of course I have to

be found in Baroque paintings where sometimes

include flying transports because in the future

the greatest of tension was caught by just using

you always have to have flying cars; its a staple

one light source appropriately and letting the

(Fig.17).

rest be enveloped by dark shadows. A great

example of this is Caravaggio, the tennis-

Also, I decide to make the metallic arm more of

playing-ruffian-master-painter.

a figure; creepier like that.

I suppose this about wraps it up folks. The

piece is resolved well enough. It tells a story

I further spruce up the lights around the

I also change the buildings on the right because

and hopefully is engaging enough to hold the

hologram (same technique as before - Overlay

Im thinking theyre too cluttered so I simplify

viewers attention for at least a few seconds.

or Soft light layer on top and paint!)

them and give the suggestion of a window.

Theres still some other things Id like to do to it,
but isnt that always the case?

I also forgot to mention this earlier, but I added

The final significant phase for this piece is to

some purple lights to the left of the screen as

create a new layer, make sure its on the top

well, to tie in the two sides of the painting a little

of all of the mid-ground layers and, using the

Anyhow, hope you enjoyed and if you have any

better. Its a simple technique if you feel your

Airbrush tool at about 15% opacity and a soft

questions feel free to drop me a line. Beaming

piece isnt unifying well.

edge, glaze over the mid-ground with yellows

out!

and oranges to give it some atmosphere and

Branko Bistrovic

I refine the background buildings by creating a

help further divide it from the foreground.

For more from this artist visit:

simple repeating square pattern and overlaying

it over the shapes of the sky scrapers. Then

Following that its just a case of continuing with

http://www.brushdreams.com/brankosfurnace.

I choose the option Lock Transparent Pixels

minor refinements until I arrived to the finished

swf

from the top of the Layers window in PS. This

work you see here!

Or contact them at:

bisvic@gmail.com

constricts me to paint only within the shapes I

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Chapter 03

Slum City

www.3dtotal.com

page 24

Chapter 03

Chapter 03

Chapter 03 Slum City

www.3dtotal.com

page 25

Chapter 03

BAZZAR / INDOOR MARKET PLACE

CHAPTER 04

Chapter 04 Bazaar / Indoor Market Place

Bazaar / Indoor
Market Place
Software used: Photoshop

Introduction
The aim of this tutorial is to tell you about some
tricks of the trade, and techniques to obtain
a good perspective and composition. These
tips should help you to be able to create an
attractive image and detail it quickly.
When thinking about this tutorial, my first
thought was to create a market or futuristic
bazaar scene that contained a commercial
center, and a zone full of shops and shoppers.
It was quite difficult though to think of an original
idea, because there is so much art dedicated to
science fiction and films like Star Wars, Aliens,
Avatar, Blade Runner, etc. It can be difficult
sometimes to paint something that hasnt been
done already.
Thus, to find the idea, I made several
drawings. I discarded the first two because
neither seemed convincing. Nevertheless I have
included one as an example so you can see the
searching process (Fig.01).
I started over again and made four new
sketches, but this time I did not give them color
or detail. I made thumbnails so I could see the
general idea better. I decided that I liked the
third option (Fig.02).

The Picture
Once I had chosen the thumbnail to develop,
I polished the idea and added more detail to
it. I then had to recreate the thumbnail at a
larger scale and in greater detail. To start with
I raised the vanishing points, and defined the
forms and structures by adding further detail. It
is important to maintain the correct perspective
and composition; to do this the first thing I do is
to define the horizon, as this depends on where
we are viewing the scene from. Depending on
where the horizon is located, what we will show

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Chapter 04

Bazaar / Indoor Market Place

Chapter 04

or tell will change. For an aerial shot it is better

to place the horizon higher on the image, but if
you are trying to show how an ant would view
the scene the horizon would need to be lower
(Fig.03).
However in this scene there is more than one
vanishing point and the horizon is twisted, to
give the scene a greater sense of action and
movement (Fig.04).
At this point I need to say more about
composition. To compose is to order, balance
and locate the elements of a drawing in an
attractive and interesting way. To create an
interesting composition we have to break down
the symmetry and find balance by means
of shapes and perspective. If you center
the vanishing point, everything will become
symmetrical and boring. However, if you twist
it clockwise then the balance and symmetry
becomes far more interesting (Fig.05).

Step by Step
Once the composition was ready, the next step
was light and shadow. When I work on an image
that has a degree of complexity, I do not add
any color until I have at least 60% of the detail

the rest of the image by using much lighter or

done in grayscale (Fig.06).I started this process

darker grays (Fig.07). Once the shape of a

by masking the buildings silhouettes and giving

scene is clear you can give it more detail by

them shape and color that was contrasting to

starting to add textures (Fig.08).

Textures
What I usually do with backgrounds to save time
is to draw a texture and repeat it several times
using Photoshop tricks. As an example to show
you how I do this I have drawn a basic structure
in perspective that leaks away to a single point.
Step 1: Draw a texture or design on any surface
of the drawing. In this example I have chosen
the end of the wall (Fig.9a).
Step 2: Once the texture is ready, mask it
and copy it to a new layer (Ctrl + C and Ctrl +
V), then press Ctrl + T. You will see that the
selected texture has a frame to allow you to
adjust the size of your texture. In the middle of
the frame you will find a circle with a cross in
the middle of it. Move that to the vanishing point
(Fig.09b).

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Chapter 04

Chapter 04 Bazaar / Indoor Market Place

Step 3: When steps 1 and 2 are done, place

the buildings on the other. Light is always an

Step 3: To light the window even more, use

the mouse cursor on the left superior angle of

important element (Fig.10).

an almost white yellow color and create a new

the frame that contains the texture, and press

Shift + Alt to move the texture to the left, while

Windows

pressing both mouse buttons. This way we

Here I will show you step-by-step how to get

can repeat the same previously drawn texture

glowing window effect by using textures.

and transfer it, keeping its perfect form and

perspective (Fig.09C).

layer. Paint it with using the Overlay option

(Fig.11c).

Posters
Step 1: Draw a poster, or some kind of

Step 1: To get a realistic effect, draw rectangles

rectangular, square or circular surface.

on each building, using only one color (Fig.11a).

Ive noted the areas where I used this technique
with red marks in my drawing (Fig.09d).

Color

Step 2: Texture it with a photograph or

Step 2: Place a texture over this color. It can be

something that will attract attention. So that it

taken from any photograph where light can be

fits on the image well use the image on Overlay

seen through a window. Then place the photo

(Fig.12).

To give color to the image I distinguished

in the windows area and select the Linear light

each element step by step, by using color

option from the Layers flap (Fig.11b).

contrast. Sky on the one hand, the street and

Conclusion
When it comes to making work for a client or
to sell, knowing how to compose the image
and use perspective correctly makes a big
difference.
It is very difficult for me to tell you step-by-step
how I created the final image. If I had to, I think
it would be very tedious for readers, so I did my
best to explain the most important steps. The
search for ideas, composition and perspective
were crucial to create an interesting image. I
hope you have liked this tutorial and can benefit
from it.
To have good ideas is what really matters.

Ignacio Bazan Lazcano

For more from this artist visit:
http://www.ignaciobazanart.com/
Or contact them at:
i.bazanlazcano@gmail.com

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Chapter 04

Bazaar / Indoor Market Place

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Chapter 04

Chapter 04

Chapter 04 Bazaar / Indoor Market Place

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Chapter 04

CITY AT SUNSET

CHAPTER 05

Chapter 05 City at Sunset

City at Sunset
Software used: Photoshop

Introduction
Painting a sci-fi cityscape at sunset can be
challenging. There are a few aspects I have to
focus on for this image: the design, lighting, and
composition. For sci-fi pictures there is almost
no limit to the architectural designs and this
allows the exploration of some really interesting
shapes and designs, but its also important to
keep the structures believable and appealing.
A cityscape at sunset means I have to carefully
control the lighting so that it works for me. When
the sun is low and near to the horizon, the
sunlight becomes filtered and adds a fantastic

sky which gives me a good sense of the light

adapt the composition by filling in the left side of

warm mood to the environment. I decided to

direction and brightness. I use curves to make

the image. I use the Polygon-Selection tool to

take advantage of this and compose an image

a reddish yellow, simulating the color of a sky at

create selections of various shapes, then fill it in

that has high contrast between the background

sunset. I then position it higher in the scene so

with a Hard brush (Fig.03). This technique gives

and the foreground.

my horizon line is somewhere in the middle.

some really sharp edges on the corners of the

Preparing the Scene Blocking In

buildings.

I start this piece by preparing an image of the

With a large Opaque brush I start to block in

Depth Establishment

sky. I want to create a sunset cityscape with

shapes for the cityscape. I want to create a

I widen the image for a broader viewing angle,

high value contrast; so I use an image of the

futuristic cityscape with interesting shapes and

and continue to make corrections to the

high-rise buildings. The shapes Im using are

composition. I add in the two large buildings in

very hard-edged and spiky. I will roughly paint in

the background to establish depth in the piece

some silhouettes to indicate the structures and

(Fig.04). The left and right buildings in the

try to find an interesting composition (Fig.01).

foreground act as cropping elements; I use this

Composition

to make the image tighter. Cropping the image

with shapes will give the viewer a more focused

I decide to tweak the composition and move the

overall feel, leading the viewers eyes into the

focal point slightly to the right; I use the Free-

image.

Transform tool for this (Fig.02). I continue to

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Chapter 05

City at Sunset

Chapter 05

The Planet
I start to paint in a hazy planet in the far
background by adding a rim of light (Fig.05).
This gives the image an alien setting and again,
adds depth to the composition.

Buildings in Mid-ground
Now with the composition mostly in place, I start
to layer the buildings into the cityscape midground (Fig.06). I will keep the light direction in
mind when I define the buildings. Because of
the strong back light established in the image,
most of the buildings will only catch highlights
on the top and the side facing the light. Most
surfaces that face the camera wont have direct
lighting, so I will keep them dark and work on
the rim. I work mostly with a solid Hard Edge
brush for this piece. I have the pressure set to
Flow, so that it gives me enough control over the
blending and provides a really fast and opaque
rendering (Fig.07).

Building Details
It takes some time to define the mid-ground
buildings in detail. Under limited lighting
conditions its important not to over expose the
buildings, generally keeping it darker than the
light source in the background. I also decide to

to filter all my painted layers. By tweaking the

add a secondary color in the image, something

red channel, I am able to add more red to the

that work as an accent to contrast the overall

highlights, while keeping the shadows relatively

red hue of the image (Fig.08).

blue in contrast (Fig.09). Then I switch to a Soft

Adjustments

Edged brush, and start to blend some of the

elements together in the background. This helps

I start to make some overall adjustments to the

to produce a softer image, and makes it look

painting. First I use a curve Adjustment layer

more natural.

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Chapter 05

Chapter 05 City at Sunset

Reconstruction
I find the structures in the painting too cubic and repetitive, so I decide to
reconstruct the mid and foreground, adding a lot more circular forms and
sci-fi looking structures to break up the boring buildings (Fig.10).

Tuning the Buildings

After the major change in the buildings, I start to look for repetition in the
shapes. In order to tune down the chaotic structures in the painting and
make them look like they belong, I carefully establish some repetition
between the foreground, mid-ground, and background (Fig.11).

City Lights
In this step, Im going to bring the cityscape alive with neon lights and
windows (Fig.12). I crop parts from a photo of a city at night and take
advantage of the Color Dodge layer to create this effect. After I have
copied and pasted a section from a photo, I use the Curves editor to
darken the shadows, so that only the windows will show up in the image
(Fig.13). Then I switch the layer blending mode to Color Dodge; this will
allow a very nice glow from just the bright windows and eliminate any
black areas in the photo.

To the Finish
Before calling this piece finished, I make some adjustments to refine the
foreground elements, adding repeating shapes and trying to tie the image
together overall (Fig.14). I use a horizontal platform to help break up
shapes in the foreground, adding depth and definition.
I continue to fine-tune the windows and lights. I add some clouds and
mists for layering and with that Im going to call this piece done! Thank you
for reading, and I hope this tutorial helped you understand the process of
creating a sci-fi cityscape at sunset. Best of luck! (Fig.15).

Frank Hong
For more from this artist visit:
http://conceptartworld.com/?p=3043
Or contact them at:
frank.f.hong@gmail.com

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Chapter 05

Chapter 05 City at Sunset

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page 37

Chapter 05

SKY SCRAPERS AND FLYING TRAFFIC

CHAPTER 06

Chapter 06 Sky Scrapers and Flying Traffic

Sky Scrapers and
Flying Traffic
Software Used: Photoshop

Introduction
Hello, everybody. Thanks a lot for 2dartist
magazine for allowing me to share some of my
workflow with its readers.
In this tutorial I am going to show how to create
a scene with some air traffic and skyscrapers.
Of course, before I start to draw or paint
something I try to think about the theme, and
to form some basic ideas in my mind. People
have seen enough of various cityscapes
with flying aircraft and cars in films like Star
Wars, Star Trek and other epic movies. I think
recreating these scenes would be unfair and
I wanted to create something a bit different,
but I was still unsure what exactly I wanted to
create. I think it is sometimes good to start with
some uncertainty because it can give some
unpredicted and pleasant results.
On the other hand, I wanted this tutorial to be
concentrated more on procedure of creation

Photoshop tools, because I think learning

I use mainly Photoshop in my paintings, and

rather than on the painting process and

Photoshop as a tool is a technical issue, but

everything done here was in Photoshop. For

learning to create something creative and

this one I started to paint using the Lasso Tool

original depends on ability to imagine and drop

(L) and Gradient fill Tool (G). Both these tools

that imagination on the canvas. And I also want

are great to create basic shapes and form. The

to talk more about the procedures that can

Lasso tool allows you to keep sharp edges while

boost your imagination.

the Gradient Fill tool brings nice gradient color

Anyway, time to start.

transitions and color variations.

Sketches

At this stage I try not to think about perspective,

When it comes to sketching, I try to do it in

colors, light and other things. I just relax and

different ways and to explore. I remember

paint. I start by selecting some regions with the

watching one of the tutorials made by the

lasso and filling them with color gradients. Some

great artist Nick Pugh. He really opened my

regions become flying ships, some of them

imagination. Nick showed different sketching

skyscrapers. Some may be land or sky. I just

techniques trying to show how to work with

create abstract forms that will inspire me to think

abstraction and unpredicted designs and so on.

about the final composition.

Sometimes he draws with his left hand to obtain

different shapes and forms. After watching those

After playing around a bit, I created these

tutorials, I tried to plug in this abstract thinking

sketches. (Fig.01, Fig.02 and Fig.03)

into my workflow and my sketches.

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Chapter 06

Sky Scrapers and Flying Traffic

Chapter 06

Hmm, I liked them, but nothing that I wanted to

finish. So I copied all the images into one file
and started to adjust layer modes in Photoshop.
Layering images in different ways can create
really unpredicted results and Fig.04 was one
of them.
I started to see this gigantic shape that was
hovering above the landscape and I thought that
could be a great shot. After detailing it a bit I
came up with this image. (Fig.05)
Everything was working fine for me at this
stage, except that the image had a slightly
different mood. To set the mood and feel
that you would like, it is good to look through
different references. It can be photos, paintings,
drawings, or even the weather out of your
window. I used one of my own studies that I did
not so long ago. (Fig.06)
When I had decided on the mood I started to
refine my image, and at this stage I`ve refined
some compositional issues too. (Fig.07)
The key tip here is constantly flipping the

kind of desert landscape would create a good

past such as Isaac Levitan, Aivazovsky and

canvas to refresh your view point. It helps a lot

contrast with the futuristic buildings. I also

other masters of traditional paintings. By looking

to correct the composition and perspective. It is

thought that it would be interesting to show

at their paintings you can observe and learn how

really surprising that there are no shortcuts for

that humanity had eventually started to care

to work and manage color. Not being a master

flipping the canvas in Photoshop, so don`t be

about our beautiful mother Earth, and stopped

of color myself, I am still learning and have a lot

lazy, set up shortcuts for this operation. It saves

destroying everything to build cities.

more to learn.

Colors

One thing that I can say for sure is that color

Another thing that I refined here is the

For me, the best way to learn about colors is to

variation is the thing that makes things look

foreground. I started to think that making a

study the masterpieces of great artists of the

realistic. There are no plain colors in nature;

a lot of effort!

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Chapter 06

Chapter 06 Sky Scrapers and Flying Traffic

they all contain some kind of tint and hues. And
in my paintings I try to insert those variations.
If I paint grass, I introduce different colors than
just green and this makes my grass look more
realistic. I think the best way to learn about
colors is to paint things from nature. Don`t be
lazy, go outside and paint, It will help a lot!

Detail
By refining a bit more, I come up with this.
(Fig.08) I blocked the main skyscrapers and the
rest was detailing the picture to head towards
the final look. There are several ways that you
can do this. You could paint all those details,
or use photos and textures to imply the details.
Both ways are good.
I used some of my previous paintings to create
the details. (Fig.09 and Fig.10)
Why not? If Photoshop allows me to cut out
some regions of my previous paintings and
paste them into the new one, I will definitely go
ahead and do it, especially when it comes to
concept art, when everything has to be done in

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Chapter 06

Sky Scrapers and Flying Traffic

Chapter 06

the most efficient way. This is good way to bring

Being a self-taught artist I have encountered

will kindly allow me to do this again in future!

the details quickly. (Fig.11)

many problems from the time I started. I looked

Thank you a lot.

through tons of articles and tutorials teaching

After that it took me some time to refine

Photoshop as a tool. After I had learned all of

everything in the image and add the air traffic to

those useful tools and instruments, I realized

the sky. And here is the final image. (Fig.12)

that it is not enough at all! What is more

Hope you like it.

important for me is to use those tools to bring

Jama Jurabaev

my imagination to life. That is why I decided

For more from this artist visit:

to share my methods that help me to imagine.

http://jamajurabaev.daportfolio.com/

As I said at the beginning of this tutorial, I

Besides that I have a chance to share some

or contact them at:

wanted to share my process of creation.

technical tips with you. I hope 2dartist magazine

jama_art@tag.tj

Conclusion

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page 42

Good luck,

Chapter 06

3DTOTAL.COM

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